document_title: List of countries by net migration rate

question_text: what is the net migration rate in australia

text: List of countries by net migration rate

text: Method[edit]

text: An excess of persons entering the country is referred to as net immigration (e.g., 3.56 migrants/1,000 population); an excess of persons leaving the country as net emigration (e.g., -9.26 migrants/1,000 population). The net migration rate indicates the contribution of migration to the overall level of population change. The net migration rate does not distinguish between economic migrants, refugees, and other types of migrants nor does it distinguish between lawful migrants and unlawful migrants.[1]

text: Data[edit]

text: World Bank (2012)[edit]

text: Countries[edit]

text:
Country
Total Population[2]
Total Net Migration
5 Year Period (2007-2012)[3]

Net Migration Per 1,000 Inhabitants
5 Year Period (2007-2012)

 Aruba
102,393
1,253
12.24

 Andorra
79,316
-
-

 Afghanistan
29,726,803
473,007
15.91

 Angola
22,685,632
102,322
4.51

 Albania
2,900,247
-91,750
-31.64

 United Arab Emirates
8,952,542
405,000
45.24

 Argentina
42,095,224
30,000
0.71

 Armenia
2,978,339
-9,876
-3.32

 American Samoa
55,227
-
-

 Antigua and Barbuda
89,069
-56
-0.63

 Australia
22,728,254
1,023,107
45.01

 Austria
8,429,991
147,089
17.45

 Azerbaijan
9,295,784
-16,125
-1.73

 Burundi
10,124,572
40,000
3.95

 Belgium
11,128,246
269,998
24.26

 Benin
10,049,792
-10,000
-1.00

 Burkina Faso
16,590,813
-125,000
-7.53

 Bangladesh
155,257,387
-2,226,481
-14.34

 Bulgaria
7,305,888
-50,000
-6.84

 Bahrain
1,333,577
29,915
22.43

 Bahamas
372,388
9,672
25.97

 Bosnia and Herzegovina
3,828,419
-2,506
-0.65

 Belarus
9,464,000
120,535
12.74

 Belize
336,707
7,594
22.55

 Bermuda
64,798
-
-

 Bolivia
10,238,762
-61,794
-6.04

 Brazil
202,401,584
15,924
0.08

 Barbados
281,580
2,180
7.74

 Brunei
405,512
2,102
5.18

 Bhutan
743,711
10,000
13.45

 Botswana
2,132,822
20,000
9.38

 Central African Republic
4,619,500
10,000
2.16

 Canada
34,751,476
1,175,863
33.84

  Switzerland
7,996,861
382,267
47.80

 Chile
17,388,437
201,289
11.58

 China
1,350,695,000
-1,800,000
-1.33

 Cote d'Ivoire
21,102,641
50,000
2.37

 Cameroon
21,659,488
-60,000
-2.77

 Congo, Republic of the
4,286,188
-60,000
-14.00

 Colombia
46,881,018
-144,998
-3.09

 Comoros
733,661
-10,000
-13.63

 Cabo Verde
500,870
-11,052
-22.07

 Costa Rica
4,654,148
19,658
4.22

 Cuba
11,342,631
-79,999
-7.05

 Curacao
152,088
5,710
37.54

 Cayman Islands
57,522
-
-

 Cyprus
1,129,303
35,000
30.99

 Czech Republic
10,510,785
29,999
2.85

 Germany
80,425,823
1,249,998
15.54

 Djibouti
853,069
-15,996
-18.75

 Dominican Republic
71,685
-
-

 Denmark
5,591,572
96,839
17.32

 Dominican Republic
10,155,036
-153,010
-15.07

 Algeria
37,439,427
-143,268
-3.83

 Ecuador
15,419,493
-38,001
-2.46

 Egypt
85,660,902
-215,681
-2.52

 Eritrea
-
-160,001
-

 Spain
46,773,055
-593,069
-12.68

 Estonia
1,322,696
-11,850
-8.96

 Ethiopia
92,191,211
-60,001
-0.65

 Finland
5,413,971
107,409
19.84

 Fiji
874,158
-28,720
-32.85

 France
65,659,790
331,555
5.05

 Faroe Islands
48,393
-
-

 Micronesia
103,516
-8,192
-79.14

 Gabon
1,613,489
5,000
3.10

 United Kingdom
63,700,300
900,000
14.13

 Georgia
3,825,000
-296,323
-77.47

 Ghana
25,544,565
-49,999
-1.96

 Gibraltar
31,402
-
-

 Papua New Guinea
11,628,767
-10,000
-0.86

 Gambia
1,807,108
-13,476
-7.46

 Guinea-Bissau
1,714,620
-10,000
-5.83

 Equatorial Guinea
773,729
20,000
25.85

 Greece
11,045,011
-136,299
-12.34

 Grenada
105,476
-4,274
-40.52

 Greenland
56,810
-
-

 Guatemala
15,368,759
-120,001
-7.81

 Guam
162,807
0
0.00

 Guyana
758,410
-27,278
-35.97

 Hong Kong
7,154,600
150,000
20.97

 Honduras
7,736,131
-80,000
-10.34

 Croatia
4,267,558
-20,000
-4.69

 Haiti
10,288,828
-150,000
-14.58

 Hungary
9,920,362
29,999
3.02

 Indonesia
248,037,853
-700,000
-2.82

 Isle of Man
85,779
-
-

 India
1,263,589,639
-2,598,218
-2.06

 Ireland
4,586,897
-140,001
-30.52

 Iran
76,156,975
-300,001
-3.94

 Iraq
32,957,622
548,666
16.65

 Iceland
320,716
-378
-1.18

 Israel
7,910,500
19,497
2.46

 Italy
59,539,717
528,269
8.87

 Jamaica
2,707,805
-97,000
-35.82

 Jordan
6,994,451
229,617
32.83

 Japan
127,561,489
350,000
2.74

 Kazakhstan
16,791,425
159,807
9.52

 Kenya
42,542,978
-50,000
-1.18

 Kyrgyzstan
5,607,200
-113,963
-20.32

 Cambodia
14,832,255
-149,999
-10.11

 Kiribati
106,620
-2,130
-19.98

 Saint Kitts and Nevis
53,650
-
-

 Korea, South
50,004,441
300,000
6.00

 Kosovo
1,805,200
-
-

 Kuwait
3,419,581
517,500
151.33

 Laos
6,473,050
-117,700
-18.18

 Lebanon
4,924,257
1,250,000
253.85

 Liberia
4,190,155
-20,000
-4.77

 Libya
6,283,403
-501,692
-79.84

 Saint Lucia
180,890
40
0.22

 Liechtenstein
36,791
-
-

 Sri Lanka
20,424,000
-484,772
-23.74

 Lesotho
2,057,331
-19,998
-9.72

 Lithuania
2,987,773
-169,529
-56.74

 Luxembourg
530,946
48,704
91.73

 Latvia
2,034,319
-73,442
-36.10

 Macau
557,763
35,000
62.75

 Saint Martin
30,959
-
-

 Morocco
32,984,190
-310,624
-9.42

 Monaco
37,404
-
-

 Moldova
3,559,519
-9,529
-2.68

 Madagascar
22,293,720
-5,000
-0.22

 Maldives
385,000
-53
-0.14

 Mexico
122,070,963
-523,585
-4.29

 Marshall Islands
52,663
-
-

 Macedonia
2,069,270
-4,999
-2.42

 Mali
16,112,333
-302,449
-18.77

 Malta
419,455
6,252
14.91

 Myanmar
52,543,841
-474,278
-9.03

 Montenegro Montenegro
620,601
-2,412
-3.89

 Mongolia
2,808,339
-15,001
-5.34

 Northern Mariana Islands Northern Mariana Islands (USA)
53,314
-
-

 Mozambique
25,732,928
-25,000
-0.97

 Mauritania
3,777,067
-20,000
-5.30

 Mauritius
1,255,882
0
0.00

 Malawi
15,700,436
-30,000
-1.91

 Malaysia
29,021,940
450,000
15.51

 Namibia
2,291,645
-1,371
-0.60

 New Caledonia
259,000
5,660
21.85

 Niger
17,635,782
-28,497
-1.62

 Nigeria
168,240,403
-300,000
-1.78

 Nicaragua
5,877,034
-135,000
-22.97

 Netherlands
16,754,962
110,006
6.57

 Norway
5,018,573
235,665
46.96

   Nepal
27,500,515
-372,369
-13.54

 Nauru
10,079
-
-

 New Zealand
4,408,100
7,265
1.65

 Oman
3,545,192
1,211,000
341.59

 Pakistan
177,392,252
-1,081,918
-6.10

 Panama
3,743,761
28,105
7.51

 Peru
30,158,768
-240,000
-7.96

 Philippines
96,017,322
-700,000
-7.29

 Palau
20,756
-
-

 Papua New Guinea
7,154,870
0
0.00

 Poland
38,063,164
-73,809
-1.94

 Puerto Rico
3,634,487
-103,537
-28.49

 Korea, North
24,763,353
0
0.00

 Portugal
10,514,844
-140,000
-13.31

 Paraguay
6,379,162
-86,700
-13.59

 French Polynesia
273,775
-500
-1.83

 Qatar
2,015,624
363,500
180.34

 Romania
20,058,035
-437,201
-21.80

 Russia
143,201,676
1,117,884
7.81

 Rwanda
10,817,350
-75,001
-6.93

 Saudi Arabia
29,496,047
850,000
28.82

 Sudan
37,712,420
-800,000
-21.21

 Senegal
13,780,108
-99,996
-7.26

 Singapore
5,312,437
397,936
74.91

 Solomon Islands
549,162
-11,868
-21.61

 Sierra Leone
6,043,157
-21,000
-3.48

 El Salvador
6,072,233
-240,415
-39.59

 San Marino
31,172
-
-

 Somalia
10,033,630
-400,000
-39.87

 Serbia
7,199,077
-99,999
-13.89

 South Sudan
10,980,623
865,000
78.78

 São Tomé and Príncipe
178,484
-5,599
-31.37

 Suriname
528,535
-5,000
-9.46

 Slovakia
5,407,579
1,199
0.22

 Slovenia
2,057,159
4,324
2.10

 Sweden
9,519,374
272,626
28.64

 Swaziland
1,231,694
-6,000
-4.87

 Sint Maarten
34,640
-
-

 Seychelles
88,303
-1,551
-17.56

 Syria
19,978,756
-4,029,996
-201.71

 Turks and Caicos Islands
32,430
-
-

 Chad
12,715,465
100,000
7.86

 Togo
6,745,581
-9,994
-1.48

 Thailand
67,164,130
100,000
1.49

 Tajikistan
7,930,929
-117,382
-14.80

 Turkmenistan
5,172,941
-25,001
-4.83

 Timor-Leste
1,148,958
-50,004
-43.52

 Tonga
104,769
-8,078
-77.10

 Trinidad and Tobago
1,341,579
-5,000
-3.73

 Tunisia
10,777,500
-32,941
-3.06

 Turkey
74,849,187
2,000,003
26.72

 Tuvalu
9,860
-
-

 Tanzania
48,645,709
-199,999
-4.11

 Uganda
35,400,620
-150,000
-4.24

 Ukraine
45,593,300
195,000
4.28

 Uruguay
3,396,753
-30,000
-8.83

 United States
314,102,623
5,007,887
15.94

 Uzbekistan
29,774,500
-195,001
-6.55

 Saint Vincent and the Grenadines
109,334
-5,000
-45.73

 Venezuela
29,854,238
-69,121
-2.32

 British Virgin Islands
28,511
-
-

 U.S. Virgin Islands
105,275
-3,604
-34.23

 Vietnam
88,809,200
-200,002
-2.25

 Vanuatu
247,498
603
2.44

 West Bank and  Gaza Strip
4,046,901
-43,750
-10.81

World
7,089,451,551
0
0.00

 Samoa
188,901
-12,690
-67.18

 Yemen
24,882,792
-50,000
-2.01

 South Africa
52,356,381
600,000
11.46

 Congo, Democratic Republic of the
70,291,160
-95,920
-1.36

 Zambia
14,786,581
-34,490
-2.33

 Zimbabwe
14,565,482
-219,922
-15.10

text: Regions[edit]

text:
Region
Total Population[2]
Total Net Migration[3]
Net Migration Per 1000 Inhabitants

Arab World
368,802,611
-1,168,750
-3.17

Central Europe and the Baltics
103,935,318
-770,310
-7.41

Channel Islands
161,336
3,654
22.65

Caribbean small states
6,937,108
-124,122
-17.89

East Asia & Pacific (excluding high income)
1,991,783,241
-3,728,059
-1.87

Early-demographic dividend
2,991,724,468
-12,621,653
-4.22

East Asia & Pacific
2,233,936,812
-1,457,489
-0.65

Europe & Central Asia (excluding high income)
403,830,537
2,121,162
5.25

Europe & Central Asia
895,050,287
5,547,385
6.20

Euro area
336,161,537
1,575,613
4.69

Fragile and conflict affected situations
452,946,224
-4,018,991
-8.87

 European Union
505,098,575
2,324,066
4.60

High income
1,166,574,800
15,359,563
13.17

Heavily indebted poor countries (HIPC)
664,163,813
-2,672,487
-4.02

IBRD only
4,392,620,014
-3,001,551
-0.68

IDA & IBRD total
5,947,367,231
-15,156,043
-2.55

IDA total
1,554,747,217
-12,154,492
-7.82

IDA blend
551,030,216
-2,758,229
-5.01

IDA only
1,003,717,001
-9,396,263
-9.36

Latin America & Caribbean (excluding high income)
585,536,615
-2,159,855
-3.69

Latin America & Caribbean
612,638,376
-2,081,948
-3.40

Least developed countries: UN classification
888,606,627
-4,741,314
-5.34

Low income
588,316,015
-1,115,618
-1.90

Lower middle income
2,801,879,869
-15,784,815
-5.63

Low & middle income
5,922,876,751
-15,350,665
-2.59

Late-demographic dividend
2,208,629,633
1,194,303
0.54

Middle East & North Africa
401,032,763
-213,002
-0.53

Middle income
5,334,560,736
-14,235,047
-2.67

Middle East & North Africa (excluding high income)
343,940,245
-3,615,666
-10.51

North America
348,918,897
6,183,750
17.72

OECD members
1,258,042,183
13,138,424
10.44

Other small states
27,109,032
332,029
12.25

Pre-demographic dividend
779,862,983
-891,831
-1.14

Pacific island small states
2,267,982
-71,075
-31.34

Post-demographic dividend
1,082,692,198
12,324,314
11.38

South Asia
1,675,019,307
-6,280,804
-3.75

Sub-Saharan Africa (excluding high income)
922,766,806
-1,687,443
-1.83

Sub-Saharan Africa
922,855,109
-1,688,994
-1.83

Small states
36,314,122
136,832
3.77

East Asia & Pacific (IDA & IBRD countries)
1,966,974,740
-3,728,059
-1.90

Europe & Central Asia (IDA & IBRD countries)
446,161,259
2,027,353
4.54

Latin America & the Caribbean (IDA & IBRD countries)
596,463,472
-1,913,623
-3.21

Middle East & North Africa (IDA & IBRD countries)
339,893,344
-3,571,916
-10.51

South Asia (IDA & IBRD countries)
1,675,019,307
-6,280,804
-3.75

Sub-Saharan Africa (IDA & IBRD countries)
922,855,109
-1,688,994
-1.83

Upper middle income
2,532,680,867
1,549,768
0.61

text: The World Factbook by CIA[edit]

text:
Rank
Country
Migrants per
1,000 population[1]
Date

1
 Lebanon
-1.10
2015 est.

2
 Qatar
22.39
2015 est.

3
 Zimbabwe
0.00
2015 est.

4
 British Virgin Islands
17.28
2015 est.

5
 Jordan
-13.24
2015 est.

6
 Libya
7.80
2015 est.

7
 Cayman Islands
14.40
2015 est.

8
 Singapore
14.05
2015 est.

9
 Bahrain
13.09
2015 est.

10
 United Arab Emirates
12.36
2015 est.

11
 Anguilla
12.18
2015 est.

12
 Turks and Caicos Islands
9.94
2015 est.

13
 South Sudan
11.47
2015 est.

14
 Cyprus
9.48
2015 est.

15
 Aruba
8.92
2015 est.

16
 San Marino
8.03
2015 est.

17
 Luxembourg
17.16
2015 est.

18
 Norway
7.25
2015 est.

19
 Spain
8.31
2015 est.

20
 Isle of Man
6.56
2015 est.

21
 Sint Maarten
6.63
2013 est.

22
 Djibouti
6.06
2015 est.

23
 Australia
5.65
2015 est.

24
 Canada
5.66
2015 est.

25
 Sweden
5.42
2015 est.

26
  Switzerland
4.74
2015 est.

27
 Liechtenstein
5.08
2015 est.

28
 Botswana
4.56
2015 est.

29
 Italy
4.10
2015 est.

30
 Jersey
3.76
2015 est.

31
 New Caledonia
4.01
2015 est.

32
   Nepal
3.86
2015 est.

33
 Macau
3.37
2015 est.

34
 Ireland
4.09
2015 est.

35
 Monaco
3.83
2015 est.

36
 Portugal
2.67
2015 est.

37
 Yemen
1.00
2015 est.

38
 United Kingdom
2.54
2015 est.

39
 Brunei
2.43
2015 est.

40
 United States
3.86
2015 est.

41
 Guernsey
2.32
2015 est.

42
 Greece
2.32
2015 est.

43
 Denmark
2.20
2015 est.

44
 Antigua and Barbuda
2.21
2015 est.

45
 New Zealand
15.0
2015 est.

46
 Czech Republic
2.33
2015 est.

47
 Malta
1.98
2015 est.

48
 Netherlands
1.95
2015 est.

49
 Bermuda
1.88
2015 est.

50
 Austria
5.56
2015 est.

51
 Hong Kong
1.68
2015 est.

52
 Russia
1.69
2015 est.

53
 Israel
2.24
2015 est.

54
 Croatia
1.39
2015 est.

55
 Hungary
1.33
2015 est.

56
 Curacao
1.27
2008

57
 Belgium
5.87
2015 est.

58
 Saint Kitts and Nevis
1.21
2015 est.

59
 France
1.09
2015 est.

60
 Germany
1.24
2015 est.

61
 Seychelles
1.00
2015 est.

62
 Taiwan
0.89
2015 est.

63
 Rwanda
0.85
2015 est.

64
 Costa Rica
0.83
2015 est.

65
 Belarus
0.70
2015 est.

66
 Palau
0.71
2015 est.

67
 Finland
3.10
2015 est.

68
 Suriname
0.56
2015 est.

69
 Iceland
4.43
2015 est.

70
 Angola
0.46
2015 est.

71
 Turkey
2.16
2015 est.

72
 Kazakhstan
0.41
2015 est.

73
 Slovenia
0.37
2015 est.

74
 Chile
0.34
2015 est.

75
 Malawi
0.00
2015 est.

76
 Namibia
0.00
2015 est.

77
 Slovakia
0.04
2015 est.

78
 Saint Helena, Ascension and Tristan da Cunha
0.00
2015 est.

79
 Swaziland
0.00
2015 est.

80
 Serbia
0.00
2015 est.

81
 Togo
0.00
2015 est.

82
 Venezuela
-2.32
2015 est.

83
 Thailand
0.00
2015 est.

84
 West Bank
0.00
2015 est.

85
 Korea, South
2.60
2016 est.

86
 Liberia
0.00
2015 est.

87
 Mauritius
0.00
2015 est.

88
 Madagascar
0.00
2015 est.

89
 Montserrat
0.00
2015 est.

90
 Papua New Guinea
0.00
2015 est.

91
 Guinea-Bissau
0.00
2015 est.

92
 Iraq
1.62
2015 est.

93
 Japan
0.00
2015 est.

94
 Andorra
0.00
2015 est.

95
 Azerbaijan
0.00
2015 est.

96
 Argentina
0.00
2015 est.

97
 Bahamas
0.00
2015 est.

98
 Belize
0.00
2015 est.

99
 Benin
0.00
2015 est.

100
 Bhutan
0.00
2015 est.

101
 Burkina Faso
0.00
2015 est.

102
 Burundi
0.00
2015 est.

103
 Central African Republic
0.00
2015 est.

104
 Cote d'Ivoire
0.00
2015 est.

105
 Equatorial Guinea
0.00
2015 est.

106
 Eritrea
0.00
2015 est.

107
 Faroe Islands
0.00
2015 est.

108
 Gaza Strip
0.00
2015 est.

109
 Guinea
0.00
2015 est.

110
 Bangladesh
0.46
2015 est.

111
 Korea, North
-0.04
2015 est.

112
 India
-0.04
2015 est.

113
 Ukraine
-2.25
2015 est.

114
 Paraguay
-0.07
2015 est.

115
 Iran
-0.07
2015 est.

116
 Ecuador
0.00
2015 est.

117
 Brazil
-0.14
2015 est.

118
 Cameroon
-0.15
2015 est.

119
 Egypt
-0.19
2015 est.

120
 Nigeria
-0.22
2015 est.

121
 Kenya
-0.22
2015 est.

122
 Ethiopia
-0.22
2015 est.

123
 Romania
-0.24
2015 est.

124
 Myanmar
-0.28
2015 est.

125
 Barbados
-0.30
2015 est.

126
 Panama
-0.28
2015 est.

127
 Cambodia
-0.32
2015 est.

128
 China
-0.44
2015 est.

129
 Vietnam
-0.30
2015 est.

130
 Congo, Democratic Republic of the
-0.27
2015 est.

131
 Malaysia
-0.33
2015 est.

132
 Bosnia and Herzegovina
-0.38
2015 est.

133
 Oman
-0.43
2015 est.

134
 Poland
-0.46
2015 est.

135
 Macedonia
-0.48
2015 est.

136
 Tanzania
-0.54
2015 est.

137
 Niger
-0.56
2015 est.

138
 Saudi Arabia
-0.55
2015 est.

139
 Cabo Verde
-0.63
2015 est.

140
 Colombia
-0.64
2015 est.

141
 Bolivia
-0.62
2015 est.

142
 Zambia
-0.68
2015 est.

143
 Lithuania
-6.27
2015 est.

144
 Uganda
-0.74
2015 est.

145
 Mongolia
-0.84
2015 est.

146
 Mauritania
-0.83
2015 est.

147
 French Polynesia
-0.84
2015 est.

148
 Algeria
-0.92
2015 est.

149
 Uruguay
-0.90
2015 est.

150
 Laos
-1.09
2015 est.

151
 Kuwait
-1.58
2015 est.

152
 Tajikistan
-1.15
2015 est.

153
 Honduras
-1.16
2015 est.

154
 Indonesia
-1.16
2015 est.

155
 Philippines
-2.09
2015 est.

156
 Vanuatu
-1.47
2015 est.

157
 Sri Lanka
-1.35
2015 est.

158
 Mexico
-1.68
2015 est.

159
 Senegal
-1.59
2015 est.

160
 Pakistan
-1.54
2015 est.

161
 Tunisia
-1.73
2015 est.

162
 Solomon Islands
-1.75
2015 est.

163
 Afghanistan
-1.51
2015 est.

164
 Turkmenistan
-1.84
2015 est.

165
 Dominican Republic
-1.91
2015 est.

166
 Guatemala
-1.97
2015 est.

167
 Mozambique
-1.98
2015 est.

168
 Gabon
-2.03
2015 est.

169
 Ghana
-2.02
2015 est.

170
 Gambia
-2.12
2015 est.

171
 Mali
-2.26
2015 est.

172
 Latvia
-6.25
2015 est.

173
 Uzbekistan
-2.37
2015 est.

174
 Comoros
-2.53
2015 est.

175
 Peru
-2.53
2015 est.

176
 Kiribati
-2.87
2015 est.

177
 Bulgaria
-0.29
2015 est.

178
 Sierra Leone
-2.77
2015 est.

179
 Nicaragua
-3.00
2015 est.

180
 Saint Lucia
-2.93
2015 est.

181
 Grenada
-3.13
2015 est.

182
 Georgia
-2.70
2015 est.

183
 Gibraltar
-3.28
2015 est.

184
 Albania
-3.30
2015 est.

185
 Estonia
-3.60
2015 est.

186
 Morocco
-3.36
2015 est.

187
 Chad
-3.60
2015 est.

188
 Cuba
-3.66
2015 est.

189
 Timor-Leste
-3.86
2015 est.

191
 Haiti
-2.76
2015 est.

192
 Sudan
-4.29
2015 est.

193
 Jamaica
-4.66
2015 est.

194
 Marshall Islands
-4.83
2015 est.

195
 Wallis and Futuna
-5.06
2015 est.

196
 Dominica
-5.38
2015 est.

197
 Armenia
-5.80
2015 est.

198
 Greenland
-5.98
2015 est.

199
 Kyrgyzstan
-5.22
2015 est.

200
 South Africa
2.42
2015 est.

201
 Trinidad and Tobago
-6.25
2015 est.

202
 Tuvalu
-6.81
2015 est.

203
 Fiji
-6.34
2015 est.

204
 Congo, Republic of the
-5.90
2015 est.

206
 Lesotho
-7.36
2015 est.

208
 El Salvador
-8.28
2015 est.

209
 Saint Pierre and Miquelon
-8.49
2015 est.

210
 Sao Tome and Principe
-8.63
2015 est.

212
 Somalia
-8.49
2015 est.

213
 Saint Vincent and the Grenadines
-9.17
2015 est.

214
 Guyana
-8.06
2015 est.

215
 Moldova
-9.67
2015 est.

216
 Samoa
-9.78
2015 est.

217
 Maldives
-12.68
2015 est.

218
 Nauru
-13.63
2015 est.

219
 Tonga
-17.84
2015 est.

220
 Micronesia
-20.93
2015 est.

221
 Syria
-19.79
2015 est.


document_title: Elite Eight

question_text: when was the last time an 11 seed went to the elite eight

root

text: Elite Eight

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2013) (Learn how and when to remove this template message)

tag: table

text: In the NCAA Men's Division I Basketball Championship or the NCAA Women's Division I Basketball Championship, the "Elite Eight" (also called the “Great Eight”) are the final eight teams and, thus represent the regional finals, or national quarterfinals. In Division I and Division III, the Elite Eight consists of the two teams in each of the four regional championship games. The winners advance to the Final Four. Since 1997, when the NCAA trademarked the phrase,[1] in Division II the Elite Eight consists of the eight winners of the eight Division II regions. Like the Division I Final Four, the Division II Elite Eight games are all held in one predetermined location.

tag: p

text: In the men's Division I, the lowest-seeded team ever to reach this round in the modern 64 team tournament era was #12 Missouri in 2002, who upset #5-seed Miami (Florida), #4-seed Ohio State, and #8-seed UCLA before losing to #2-seed Oklahoma in the West regional that year. Eight #11 seeds have advanced to the Elite Eight: LSU in 1986, Loyola Marymount in 1990, Temple in 2001, George Mason in 2006, Virginia Commonwealth in 2011, Dayton in 2014, Xavier in 2017, and Loyola Chicago in 2018.

text: On average, three of the four #1 seeds make it to the Elite Eight each year. In men's play, the Elite Eight exists intact for less than 24 hours between the second Friday evening and the following Saturday afternoon of the tournament. The Elite Eight also represents the halfway mark of the men's tournament since each qualifying team must win three rounds (games) to reach the national quarterfinals, with three rounds remaining to reach and win the national championship game.

text: Like "March Madness," the phrase "Elite Eight" originally referred to the Illinois High School Boys Basketball Championship, the single-elimination high school basketball tournament run by the Illinois High School Association. When the IHSA finals were reduced from sixteen to eight teams in 1956, a replacement nickname for Sweet Sixteen was needed, and Elite Eight won popular favor. The IHSA trademarked the term in 1995; the trademark rights are now held by the March Madness Athletic Association, a joint venture between the NCAA and IHSA formed after a 1996 court case allowed both organizations to use "March Madness" for their own tournaments.

text: Elite Eight can also refer to the eight NCAA Division I baseball teams that reach the College World Series.

text: Notable Elite Eight teams in the men's Division I NCAA tournament[edit]

text:
During the first 12 years of the tournament (1939-50, inclusive) only eight teams competed, meaning every team that qualified in those years was an automatic "Elite Eight" team.
Idaho State in 1977, which defeated UCLA in the previous round to end the Bruins' streak of consecutive Final Four appearances at 10 to end the John Wooden-era dynasty[2]
11-seed Loyola Marymount in 1990. One of the team's stars, Hank Gathers, collapsed and died on the court during the WCC Tournament, and teammates (including Bo Kimble, who shot his first free throw of each tournament game left-handed) honored Gathers during the tournament.
12-seed Missouri and 10-seed Kent State in 2002
10-seed Providence College in 1997
10-seed Gonzaga in 1999
11-seed Temple finished the 2001 regular season on a remarkable run, won Atlantic-10 tournament behind play of Lynn Greer before succumbing to Michigan State.
11-seed George Mason in 2006, which became the first 11-seed to advance to the Final Four since 1986, after defeating 1-seed Connecticut in overtime in the Elite Eight
10-seed Davidson College in 2008
11-seed Virginia Commonwealth in 2011 (the first "First Four" team to advance to the Elite Eight)
11-seed Dayton in 2014
10-seed Syracuse in 2016
11-seed Xavier in 2017
11-seed Loyola–Chicago in 2018

tag: ul


document_title: Bank of England £10 note

question_text: who used to be on the £10 note

question_tokens: who used to be on the £ 10 note

text: Bank of England £10 note

text: History[edit]

text: Ten pound notes were introduced by the Bank of England for the first time in 1759 as a consequence of gold shortages caused by the Seven Years' War. The earliest notes were handwritten, and were issued as needed to individuals. These notes were written on one side only and bore the name of the payee, the date, and the signature of the issuing cashier. With the exception of the Restriction Period between 1797 and 1821, when the French Revolutionary Wars and the Napoleonic Wars caused a bullion shortage, these notes could be exchanged in full, or in part, for an equivalent amount of gold when presented at the bank. If redeemed in part, the banknote would be signed to indicate the amount that had been redeemed. From 1853 printed notes replaced handwritten notes, with the declaration "I promise to pay the bearer on demand the sum of ten pounds" replacing the name of the payee. This declaration remains on Bank of England banknotes to this day. A printed signature of one of three cashiers appeared on the printed notes, though this was replaced by the signature of the Chief Cashier from 1870 onward.[1]

text: The ability to redeem banknotes for gold ceased in 1931 when Britain stopped using the gold standard.[1] The £10 note ceased to be produced by the Bank of England in 1943, and it was not until 1964 with the advent of the series C notes that the denomination was re-introduced. These brown notes were the first £10 notes to feature an image of the monarch on the front, and unlike the previous 'White' notes they had a reverse; in this case featuring a lion. The C series was replaced by the D series beginning in 1975, with the new notes having a portrait of Florence Nightingale on the back. The tradition of portraying historical British figures on the reverse continued with the E series, first issued in 1992, with an image of Charles Dickens appearing. Series E notes are multicoloured, although they are predominantly orange-brown. From series E onward Bank of England £10 notes feature 'windowed' metal thread; this thread appears as a dashed line, yet forms a single line when held up to the light.[2]

text: The revised Series E £10 note was introduced in 2000. It features a portrait of Charles Darwin on the back as well as an illustration of HMS Beagle and images of various flora and fauna.[3] The note features a number of security features in addition to the metallic thread, including raised print, a watermark, microlettering, a hologram, and a number ten which only appears under ultraviolet light.[4]

text: In December 2013 the Bank of England announced that the next £10 note would be printed on polymer, rather than cotton paper.[5] This followed the announcement in July 2013 that Charles Darwin would be replaced by 19th Century author Jane Austen on the next £10 note, which would enter circulation in 2017. The decision to replace Darwin with Austen followed a campaign to have a woman on the back of a Bank of England banknote when it was announced that the only woman to feature on the back of a note — prison reformer Elizabeth Fry on the £5 note — was to be replaced by Winston Churchill.[6][7] Images on the reverse of the Jane Austen note include a portrait of Austen commissioned by her nephew, an illustration of Elizabeth Bennet from Pride and Prejudice by Isabel Bishop, an image of Godmersham Park (the home of Austen's brother), and a design based on Austen's 12-sided writing table as used by her at Chawton Cottage.[8] The note also includes the quote “I declare after all there is no enjoyment like reading!” which is said by Austen's character Caroline Bingley, who in fact has no interest in reading and is attempting to impress Mr Darcy.[9]

text: Designs[edit]

text: Source: Bank of England[1][2]

text:
Note
First issued
Last issued
Ceased to be legal tender
Colour
Size
Design
Additional information

White
1759
1943
16 April 1945
Monochrome (printed on one side only)
211mm x 133mm (may vary)

Series C
21 February 1964
1975
31 May 1979
Brown
150mm x 93mm
Front: Queen Elizabeth II; Back: Lion
First £10 note to carry a portrait of the monarch and use threaded paper

Series D
20 February 1975
1992
20 May 1994
Predominantly brown
151mm x 85mm
Front: Queen Elizabeth II; Back: Florence Nightingale
Those issued from 16 July 1987 onward have a 'windowed' security thread

Series E
29 April 1992
October 2000
31 July 2003
Multicoloured (predominantly orange-brown)
142mm x 75mm
Front: Queen Elizabeth II; Back: Charles Dickens
Those notes issued from November 1993 have an additional denomination symbol £10 on each side

Series E (variant)
7 November 2000
2016
1 March 2018
Multicoloured (predominantly orange-brown)
142mm x 75mm
Front: Queen Elizabeth II; Back: Charles Darwin
The correct wording in the band of text above the central oval where the Queen’s watermark appears is ‘The Governor and Company of the Bank of England’. A variety exists with the wording ‘The Governor and the Company of the Bank of England’ (with an extra ‘the’). This is technically incorrect, however both types were made in high numbers.[10]

Series G (polymer)
14 September 2017

predominantly orange
132mm x 69mm
Front: Queen Elizabeth II; Back: Jane Austen


document_title: Beauty and the Beast (2017 film)

question_text: where was beauty and the beast 2017 filmed

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, an enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

text: Some years later, in the small town of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a birthday gift to Belle. Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave her mother's deathbed when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He overpowers Gaston, but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return.[11][12]

Adam Mitchell[3] portrays the younger version of the prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[13]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[14]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[15]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[16]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[17]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[18]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[19]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[13]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[20] Morahan also narrates the prologue.

Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[21]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[20]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[22]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[22]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[23]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[24][25] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[26]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[27] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[28] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[29]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[30] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[31]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[32] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[31] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[33][34] and Watson confirmed their casting the following day through tweets.[11][35] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[14][13][17][19][18][15][16][36]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[37] Paige O'Hara voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[38]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[39]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[13][40][41] Filming with the principal actors concluded on August 21.[42][43] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[44]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[22]

text: Music[edit]

text: When released in 1991, Beauty and the Beast, marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[45]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[46] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[47] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[48] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[49]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 "Beauty and the Beast" duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[50] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[51][52][53][54]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[55][56] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[57] Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[58]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[58]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[13] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[59]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, United Kingdom;[60] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[61] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: The movie was re-released in New York and Los Angeles starting December 1, 2017, for an one week engagement. The move is an awards push as awards season heats up.[62]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[63] Following an announcement on May 22, 2016,[64] Disney premiered the first official teaser trailer on Good Morning America the next day.[65] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[66] This record has since been broken by Thor: Ragnarok and It.[67] The first official teaser poster was released on July 7, 2016.[68] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[69][70] One week later, Emma Watson and Disney debuted a new poster for the film.[71] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[72] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[73] This record has since been broken again by The Fate of the Furious.[74] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[75] Disney released the final trailer on January 30, 2017.[76]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[77] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[78] The movie regained the top spot on the national home video sales charts during its third week of release.[79] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.4 million in other territories for a worldwide gross of $1.263 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[81] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[82] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[83] It surpassed the entire lifetime total of the original film in just six days.[84][85]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[86] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[87][88][89][90] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[91][92][93] It is currently the highest-grossing film of 2017,[94] the highest-grossing March release,[95] the highest-grossing remake of all-time,[96] and the fifth-biggest Disney film.[97] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[96]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[98][99][100] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[101][102] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[103] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 p.m.[104] The numbers were considered more impressive given that the film played during a school week.[105]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[106][107] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[108] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[86] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[109] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[110][111] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[112] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[113] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[113] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[109]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[114] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[86] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[113] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[115][116] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[115][117]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[118] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[119] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[120] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[121] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[81] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[122] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[123] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[124] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[125] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[126] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[127] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[128] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[129][130][131]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[132] the biggest musical film (both animated and live-action),[133] as well as the biggest film of 2017.[134]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[135] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[136] It topped the international box office for three consecutive weekends[137] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[138][93]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[139][140] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[135][136]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[141] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[142] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[143][136] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[144][145][146] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[147] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[148][149][150] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[151]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[152] The original film was, however, never widely popular in the country.[153] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[154] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[155][156] Either ways, it recorded the second-biggest opening for a Disney live-action film,[153] with $3.4 million coming from 386 IMAX screens.[135] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[136] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[157][158] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[159] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[160][161][162] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[163] It topped the box office there for eight consecutive weekends.[164][165]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[135] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[138][166] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[167] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[168] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[157][169] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[164] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[157][160][170]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, the cast's performances, visuals, Jacqueline Durran's costume design, production design, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[9][10] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 304 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[171] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[172] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[173][174]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[175] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[176] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[177]

text: Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[178] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[179] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[180] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[181] James Berardinelli of ReelViews described the 2017 version as "enthralling".[182]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[183] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)".[184] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[185] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[186]

text: Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[187] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[188] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[189]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[190] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[191] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[192][193]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[194] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[195]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[196]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
Nominated
[197]

Best Original Score
Nominated

Best Animation/Family TV Spot
Nominated

Best Fantasy Adventure TV Spot
Nominated

International Online Cinema Awards (INOCA)
July 29, 2017
Best Production Design
Nominated
[198]

Best Original Song
"Evermore" – Alan Menken and Tim Rice
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Beauty and the Beast
Won
[199]
[200]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran
Won
[201]

Make-Up & Hair Styling Award
Jenny Shircore
Won

Hollywood Post Alliance (HPA)
November 16, 2017
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[202]
[203]

Outstanding Visual Effects – Feature Film
Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley, and Framestore
Nominated

Hollywood Music in Media Awards
Best Original Song – Animated Film
"How Does a Moment Last Forever" - Alan Menken and Tim Rice
Nominated
[204]
[205]

Best Original Song – Sci-Fi, Fantasy, Horror Film
Won

"Evermore" – Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast
Nominated

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[206]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

San Diego Film Critics Society
December 11, 2017
Nominated
[207]
[208]

Best Visual Effects
Beauty and the Beast
Runner-up[b]

Best Costume Design
Jacqueline Durran
Won[c]

Best Use of Music
Beauty and the Beast
Nominated

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[209]
[210]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Nominated
[211]
[212]

Best Visual Effects
Beauty and the Beast
Nominated

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Pending
[213]

Phoenix Film Critics Society
December 19, 2017
Best Original Song
"Evermore"
Pending
[214]

Best Cinematography
Beauty and the Beast
Pending

Best Production Design
Pending

Best Costume Design
Pending

Los Angeles Online Film Critics Society
January 3, 2018
Best Animated / Visual Effect Performance
Dan Stevens
Pending
[215]

Best Blockbuster
Beauty and the Beast
Pending

Houston Film Critics Society
January 6, 2018
Best Original Song
"Evermore" – Alan Menken and Tim Rice
Pending
[216]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Pending
[217]

Best Costume Design
Jacqueline Durran
Pending

Best Hair & Makeup
Beauty and the Beast
Pending

Best Song
"Evermore"
Pending

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Pending
[218]

Satellite Awards
February 10, 2018
Best Costume Design
Jacqueline Durran
Pending
[219]

Women Film Critics Circle Awards
TBA
Best Family Film
Beauty and the Beast
Pending
[220]

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[221] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[222] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[223]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[224] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[225] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[226] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[227][228][229] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[230] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[231][232] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[233]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[234] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[235]

text: The film also received criticsm over its portrayal of LeFou, as many felt that it relied on stereotypes[236] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[237] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[238] Furthermore, the only gay interaction LeFou has is a three second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[239]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[240] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[241] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[242][243] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[244]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[245] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[246][247] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[248] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[249]

text: Notes[edit]

text:
^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.
Jump up ^ Tied with Dunkirk.
Jump up ^ Tied with Mark Bridges for Phantom Thread.

tag: ol


document_title: Kings of Leon

question_text: where did kings of leon name come from

question_tokens: where did kings of leon name come from

text: Kings of Leon

text: History[edit]

text: Early years: before 2002[edit]

text: The three Followill brothers (Matthew is their cousin) grew up in Oklahoma and Tennessee with their father, Ivan Leon Followill, a United Pentecostal Church preacher, and their mother, Betty-Ann. Matthew and Nathan were born in Oklahoma, and Jared and Caleb were born in and around Memphis, Tennessee. Jared attended Mount Juliet High School, while Matthew was born and raised in Mississippi. According to Rolling Stone magazine, "While Ivan preached at churches and tent revivals throughout Oklahoma and the Deep South, the boys attended services and were occasionally enlisted to bang on some drums". They were either home-schooled by their mother, or enrolled in small parochial schools at this time. Except for a five-year period when they settled in Jackson, Tennessee, the Followills' childhoods were spent driving through the southern United States in a purple 1988 Oldsmobile, camping for a week or two wherever Ivan was scheduled to preach.[2]

text: When the boys' father resigned from preaching and their parents divorced in 1997, Nathan and Caleb relocated to outside Nashville and originally embraced country music. While there, they met songwriter Angelo Petraglia, who helped the siblings hone their songwriting skills and introduced them to the musical influences of Thin Lizzy,[3] The Rolling Stones and The Clash in particular. Their youngest brother, Jared, who had briefly attended public school, was more influenced by the music of the Pixies and The Velvet Underground. When he and their cousin Matthew also moved to Nashville in 1999, Kings of Leon was formed. They named the band after their grandfather Leon, who died in January 2014.[4]

text: Signing and first EP: 2002–2003[edit]

text: By 2002, Nathan and Caleb had received interest from a number of music labels and eventually signed with RCA Records, which initially insisted on putting a band together for the two of them. In an interview with Billboard, however, Nathan outlined how they told RCA, "We don't want to be Evan and Jaron. We're going to buy our little brother a bass, he's a freshman in high school. Caleb will teach himself the guitar, Matthew played guitar when he was 10 and I'll play the drums. They said, 'All right, we'll come down in one month and see you guys.'" Later in the interview Caleb admitted to the brothers "kidnapping" their cousin Matthew from his hometown in Mississippi for him to join the band. They told his mother that he was only going to be staying for a week but never allowed him to return home. "We locked ourselves in the basement with an ounce of marijuana and literally spent a month down there. My mom would bring us food down", added Nathan. "And at the end of that month the label people came and we had "Molly's Chambers", "California Waiting", "Wicker Chair", and "Holy Roller Novocaine".[5]

text: The band's first record, an EP entitled Holy Roller Novocaine, was released on February 18, 2003. At this stage, Jared was only 16 years old and had not yet learned to play the bass. The release of Holy Roller Novocaine gave the Kings of Leon a significant amount of exposure, receiving a 4/5 star rating from Rolling Stone magazine. All of the songs released on the EP were co-written by Angelo Petraglia, who also produced the record, and four of the five songs would later be released on Youth and Young Manhood. The versions of "Wasted Time" and "California Waiting" on the EP differ from their album versions, however, with the first having a more tense riff and different vocal style than the same track off Youth and Young Manhood, the second being recorded in a rush to finish the EP. The EP also contains the song "Wicker Chair", while a track called "Andrea" was discarded before its release.[6]

text: First albums and critical recognition: 2003–2006[edit]

text: The Followills' debut album, Youth and Young Manhood, was released in the UK in July 2003 and in the United States later that August. The album was recorded between Sound City Studios in Los Angeles and Shangri-La Studios in Malibu, California. It was produced by Angelo Petraglia and Ethan Johns.[7] According to Rolling Stone magazine, the band's retro-chic look and blend of Southern boogie and gritty garage rock inspired comparisons to both Lynyrd Skynyrd and The Strokes. The album became a sensation in the UK and Ireland, where NME declared it "one of the best debut albums of the last 10 years" and The Guardian described the band as "the kind of authentic, hairy rebels The Rolling Stones longed to be". The album still failed to make any significant impact in the US, where reviews were generally lukewarm and the modern rock audience was generally uninterested. In the United States, Youth and Young Manhood sold only 100,000 copies, compared with the 750,000 copies it moved abroad.

text: The band's second album, Aha Shake Heartbreak, was released in the UK in October 2004 and in the United States in February 2005. Building on the Southern-infused garage rock of their first album, the album broadened the band's domestic and international audience. The album was again produced by Angelo Petraglia and Ethan Johns. "The Bucket", "Four Kicks", and "King of the Rodeo" were all released as singles, with "The Bucket" rising into the Top 20 in Britain. "Taper Jean Girl" was also used in the 2007 film Disturbia and the film Cloverfield in 2008.[8] The band garnered accolades from several of their rock peers, including Elvis Costello, and also toured with U2, Bob Dylan and Pearl Jam during 2005 and 2006.[9][10][11]

text: Major commercial success: 2006–2009[edit]

text: The band's third album was titled Because of the Times and was released on April 2, 2007 in the UK, and a day later in the United States. The album release was preceded by the single "On Call", which became a hit in the UK and Ireland. The album debuted at number one in the UK and Ireland and entered the European charts at number 25, selling approximately 70,000 copies in its first week of release. Although it was lauded by some critics,[12][13] others found the album inferior to their previous efforts.[14]

text: In 2008, Kings of Leon released its fourth studio album, Only by the Night, produced by Jacquire King and Angelo Petraglia on September 19, which subsequently entered the UK Albums Chart at number one and remained there for one more week. Only by the Night also had two single-week stints as the UK number one album in 2009, one directly after the BRIT Awards. In the United States, the album reached number four on the Billboard 200.[15] Reception to the album was the most polarized yet, with the British press granting the album glowing reviews, while in the United States, reactions to the album were more mixed.[16] The album was officially named as the UK's third-biggest-selling album of 2008[17] and the biggest-selling album of 2008 in Australia.[18] "Sex on Fire" was the first single released for download in the UK on September 8. The song became the band's most successful as it peaked at number one in the UK, Ireland, Australia, and New Zealand. They won Best International Band and Best International Album at the Brit Awards in 2009, where they also performed "Use Somebody" live.[19][20] Kings of Leon also performed on March 14, 2009, at Sound Relief, a benefit concert, for the Victorian Bushfire Crisis.[21][22] The song "Crawl" from this album was released as a free download on the band's website on July 28. The third and fourth singles were "Revelry", which peaked at number 19 in New Zealand, and "Notion", which peaked at number 24 in Belgium.[23] Only by the Night was certified Platinum in the United States by the RIAA for selling one million copies in less than a year after its release.[24] In 2008, Kings of Leon headlined the Glastonbury Music Festival, and in 2009, the band headlined a number of music festivals, including Reading & Leeds, Rock Werchter, Oxegen, T in the Park, Gurtenfestival and Open'er Festival in Poland, Europe, along with Sasquatch, Lollapalooza,[25] and Austin City Limits in the United States.

text: The band released its first DVD, Live at the O2 London, England, on November 10, 2009. It was later released on Blu-ray Disc on November 24, 2009. The footage was filmed in London's O2 Arena on June 30, 2009, when the band performed a 22-song set in front of a sold-out crowd of more than 18,000 fans. In an interview with Billboard.com, drummer Nathan stated, "England is really the first place we broke (...) We figured what better place to make a live DVD than where the fans have been the craziest for the longest."[26] The show featured songs from all four of the band's albums, and Nathan continued by saying, "We just put the cameras in the back of our minds and acted like they weren't even there."[26]

text: In 2009 Kings of Leon founded Serpents and Snakes Records, a record label including such bands as The Features, Snowden, Turbo Fruits, and The Weeks.[27]

text: On January 31, 2010, Kings of Leon took home the Grammy Award for Record of the Year, Best Rock Performance by a Duo or Group with Vocal and Best Rock Song for "Use Somebody" at the 52nd Annual Grammy Awards.

text: Come Around Sundown: 2010–2011[edit]

text: The band's fifth album, called Come Around Sundown, was released on October 18, 2010 in the UK, and October 19, 2010 in the US.[28] It was recorded in Nashville and New York between February and June 2010 with Jacquire King and Angelo Petraglia once more at the helm. Following the release of Come Around Sundown in Australia, the band released all the tracks from the new album on their website.[29]

text: In June 2010, the band embarked on a tour visiting more than 50 cities in North America and Europe. The tour dates ran from June 5 to September 23.[30] In June they headlined the Slane Castle festival in Ireland, while they were informed of the death of their uncle Cleo.[31] On July 27, 2011, during a concert in Dallas, Texas, singer Caleb Followill appeared to be heavily intoxicated and slurred incomprehensibly between songs, often rambling about nothing. He left the stage, claiming he was going to vomit, drink a beer and return to play three more songs. He never returned, causing the rest of the band to apologize to the crowd and end the concert abruptly.[32] On August 1, 2011, the band announced through their website that the remainder of their US tour would be canceled with no reschedules due to dates they already had scheduled.[33][34]

text: Hiatus and Mechanical Bull: 2011–2014[edit]

text: On October 31, 2011, the band announced that after the conclusion of their Australian tour in November that they would be going on hiatus. Nathan stated that the band's hiatus should not take any longer than six months.[35]

text: On August 22, 2012, Jared and Nick Brown from Mona released their song "No Tell" under the name Smoke & Jackal. On August 23, 2012, when asked if it was the end of Kings of Leon with Smoke & Jackal announced, Jared said "Not even close. Working on album six very soon".[36] Kings of Leon bassist Jared Followill confirmed that the band had finished recording their sixth LP, which was reported by NME to be released in September.[37][38] The album title Mechanical Bull was revealed on June 7, and the album was released on September 24.[39] The album's first single, entitled "Supersoaker", was released on July 17, 2013.[40] The second single "Wait for Me" was released in the United Kingdom in August 2013 and debuted at number 31 in the UK Singles Chart. "Last Mile Home", a song originally from the deluxe version of Mechanical Bull, had a stripped down version written for the soundtrack of the film August: Osage County.

text: WALLS: 2016–present[edit]

text: Following their New Year's Eve show in Nashville, Nathan Followill said that the band were aiming to release album seven in 2016: "We've already started pre-production in our studio for the next record, but the main thing on the calendar for 2016 is getting the record finished. And then the whole press machine kicks up and doing press for the record." Caleb added: "We enjoy this part of the process. Obviously there's a lot of work that goes into it and it can get stressful at times, but we're all in a good place and we're having fun with it and we're all excited to do something new." The album was stated to be likely to be recorded in Los Angeles, with Caleb saying the band were looking for inspiration: "We might just try to get a little change of scenery. Our first two albums we recorded in L.A., so we're going to try to go back and see if it inspires us," he said. "If it doesn't, we always have a studio at home, so we can always come back."[citation needed]

text: On June 17, 2016, the band headlined Firefly Music Festival in Dover, Delaware.[41] On September 10, 2016, the Kings of Leon Headlined at the Saturday evening Lollapalooza Europe music festival, in Berlin, Germany, which featured songs from all their albums plus "Waste a Moment" from the WALLS.

text: In August, the band announced that album title would be We Are Like Love Songs (aka WALLS), and that it would be released on October 14, 2016.[42] The first single from the album, "Waste a Moment", was released on September 9, 2016.

text: In 2016 the album WALLS reached No. 1 on the Billboard 200 albums chart. The seventh album, WALLS was the first album that Kings of Leon have earned their No. 1 on the Billboard 200 albums chart.[43] WALLS moved 77,000 equivalent album units by the end of the week ending October 20th.

text: The band headlined the British Summer Time concerts in London's Hyde Park on 6 July 2017.[44]

text: Band members[edit]

text:
Caleb Followill – lead vocals, rhythm guitar (2000–present)
Jared Followill – bass guitar, keyboards, synthesizer, backing vocals (2000–present)
Matthew Followill – lead guitar, keyboards, piano, backing vocals (2000–present)
Nathan Followill – drums, percussion, backing vocals (2000–present)

text: Touring members

text:
Liam O'Neil – piano, keyboards, percussion, backing vocals (2015–present)
Timothy Deaux – rhythm guitar, percussion, backing vocals (2016–present)
Ethan Luck – rhythm guitar, keyboards, piano, percussion, backing vocals (2014–2016)
Christopher Coleman – rhythm guitar, keyboards, piano, trumpet, percussion, backing vocals (2010–2014)

text: Discography[edit]

text: Studio albums[edit]

text:
Youth & Young Manhood (2003)
Aha Shake Heartbreak (2004)
Because of the Times (2007)
Only by the Night (2008)
Come Around Sundown (2010)
Mechanical Bull (2013)
WALLS (2016)

text: World Tours[edit]

text:
Come Around Sundown World Tour (2010-2011)
Mechanical Bull Tour (2014-2015)
WALLS World Tour (2017)

text: In other media[edit]

text: In early April 2011, an 87-minute film directed by Stephen C. Mitchell documenting the band members' lives was shown at the 2011 Tribeca Film Festival in New York, called Talihina Sky, the name of an early Kings of Leon track. The Tribeca premiere was followed by scheduling a hometown premiere at the deadCENTER Film Festival in Oklahoma City, Oklahoma, on June 8, 2011.[45]

text: The European premiere was hosted at the Edinburgh International Film Festival on June 25 [46] and was followed by an interview session with the band. UK distributor Revolver Entertainment streamed the movie and interview session to 150 UK cinemas for a "One Night Only" live screening event.[47] RCA Records later announced that the film would be released on Blu-ray Disc and DVD on November 1, 2011.[48]

text: Kings of Leon are mentioned in The Bedroom Philosopher's song "Northcote (So Hungover)" as inspirational icons: "Riding around on the 86, so hungover / Gonna go down to Pony, pretend I'm in Kings of Leon",[49] and depicted in the music video.[50]

text: Caleb, Nathan, and Jared Followill made a guest appearance in the It's Always Sunny in Philadelphia episode "The High School Reunion" (season 7, episode 12). The episode mocks the Fox musical-comedy Glee, which itself is set in a high school. The members of Kings of Leon dislike Glee and refused to let them use their music, and as fans of Sunny, asked to make a guest appearance.